Throughout the 1980s and into the ’90s, the soprano Jeanne Ommerle was a regular visitor to Boston; during that period, no singer gave greater pleasure, more consistently. She didn’t make many records, so it was an agreeable surprise to run into her on a delightful new Albany CD of three chamber operas which are so popular in opera-workshop performance that they have seldom been recorded.

Ommerle sings Lucy in “The Telephone” and Helene in Hindemith’s “Hin und Zurueck,” and she sounds wonderful — the glint in her tone, her spontaneous communication of character, and her delight in the physical act of singing are intact. The New York Chamber Ensemble is a group of good players and good singers (the most familiar is the tenor Carl Halvorson, who was in the workshop production of Robert Aldridge’s “Elmer Gantry” here).

The most unusual of the operas is Hindemith’s, which begins to run backwards halfway through in a complex musical and theatrical joke; Helene is a role Beverly Sills once sang for WGBH! The most popular of the operas is the Menotti piece about a ménage à trois of girl, boy, telephone! The piece can seldom have been performed with such skill and unassuming charm.

Douglas Moore’s “Gallantry” is an affectionate parody of a television soap opera episode, complete with commercials; it doesn’t accomplish anything Bernstein’s “Trouble in Tahiti” didn’t do better, but it is a craftsmanlike and entertaining piece, nicely performed.

— RICHARD DYER